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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
In Less Than a Decade, DUFF Mckagan Shot
36-43 Duff feature 3/16/04 2:10 PM Page 36 36-43 Duff feature 3/16/04 2:14 PM Page 37 Bulletproof In less than a decade, DUFF McKAGAN shot from strung-out GUNS N’ ROSES megastar to sober bass-groovin’ dude for VELVET REVOLVER. Bass Guitar’s E.E. Bradman gets the rock-solid bass man in his sight. BG 37 36-43 Duff feature 3/16/04 4:25 PM Page 38 36-43 Duff feature 3/16/04 5:22 PM Page 39 “Every good rock band has to . You need that something that moves people.” uff McKagan knows covers-only Spaghetti Incident and the so-so Live Era didn’t measure up to the band’s HAIR FORCE ONE: about missed opportuni- Duff, with Rose and Slash, debut, and by 1992 Izzy and Adler had been in his GN’R daze ties. He was, after all, the replaced by Gilby Clarke and Matt Sorum. In founding bassist of the 1993, McKagan released his first solo album, legendary Guns N’ Roses, Believe in Me. Guns eventually crumbled, leaving an uncompleted (and still unreleased) whose rock-star excesses, album, tentatively titled Chinese Democracy, volatile live shows and incendiary in the balance. albums made them the biggest band in McKagan’s second effort, Beautiful D Disease, was lost to record company politics, the world before they spluttered to a but he stayed busy producing Betty Blow- messy close a decade later. But McKa- torch, playing several instruments with gan—who after a drug-and-alcohol- Screaming Trees vocalist Mark Lanegan, and related pancreas explosion 10 years ago handling guitar and bass duties for Iggy Pop, was told by doctors that his next drink Ten Minute Warning, Loaded, the Neurotic Outsiders (with John Taylor of Duran Duran would kill him—also knows a thing or and Steve Jones of the Sex Pistols) and the two about second chances. -
Indigenous Peoples' Rights in International
INDIGENOUS PEOPLES’ RIGHTS IN INTERNATIONAL LAW: INDIGENOUS PEOPLES’ RIGHTS EMERGENCE AND APPLICATION This diverse collection of essays and articles emerged from a workshop IN INTERNATIONAL LAW held in Oslo in March 2012, hosted by the Norwegian Center for Human Rights and the University of Oslo. The purpose of the workshop was to gather memories of how the international community had decided to exa- mine the situation of Indigenous peoples, to explore, explain and celebrate their pioneering work within the United Nations and the International La- bour Organization. The participants also examined the impact of that work and were further asked to identify desirable future developments. EMERGENCE AND APPLICATION The workshop and now this volume have brought together unique hi- storical and political perspectives of the same events from a variety of dif- ferent viewpoints. Participants were drawn from Indigenous communities, from the United Nations and the ILO, from national governments and from NGOs, all of whom had been involved in these discussions over the years – some since the very beginning. Among the participants in the workshop was Asbjørn Eide, the fou- nding Chairperson of the UN Working Group on Indigenous Populations (WGIP), and this book is dedicated to him on the occasion of his 80th birthday. Cover design by Holly Nordlum, Iñupiaq Artist RESOURCE CENTRE FOR THE RIGHTS OF INDIGENOUS PEOPLES EMERGENCE AND APPLICATION A book in honor of Asbjørn Eide at eighty INTERNATIONAL LAW: INDIGENOUS PEOPLES’ RIGHTS IN INTERNATIONAL WORK -
Mise En Page 1
NANCY , ville d’échange, dynamique, jeune, première ville universitaire du grand Est, s’impose frustrée. Comme jadis au CMCN et maintenant à Music Academy International, nous sommes des comme un des pôles culturels et artistiques européens. Point chaud du rock, capitale du jazz, européens convaincus. La vocation internationale de notre école n’est pas uniquement dictée par la haut-lieu de la musique classique, Nancy a le goût de la scène. Du club de jazz intimiste à “l’Autre situation géographique de Nancy (dans un rayon de 350 km nous touchons Paris et 6 pays, dans un Canal”, scène de Rock, chanson & électro ultra-équipée, en passant par la salle de concerts rayon de 950 km nous touchons Brest et 11 pays), mais également par l’enrichissement culturel et majestueuse jusqu’au Zénith imposant, Nancy accueille à bras ouverts les musiciens de tous économique qui se présente à l’artiste qui profite de l’ouverture des frontières. horizons. Music Academy International est implantée à proximité de trois parcs, à deux pas de la célèbre place Stanislas, en plein centre ville dans un quartier sympathique et sécurisant. Pour cette raison Music Academy International entre autres, accueille nombre d’artistes étrangers réputés. Music Academy se félicite également d’un partenariat privilégié avec une vingtaine des INTERNATIONAL : Le caractère universel de la musique et plus particulièrement les qualités de plus grandes écoles du monde entier. Mais ne nous y trompons pas, même si à Music Academy le brassage et d’intégration des courants actuels, interdit de délimiter son champ d’action, de rester mot “International” prend toute sa mesure, même si les accents sont multiples, même si tous les replié sur son territoire national. -
Albanian Families' History and Heritage Making at the Crossroads of New
Voicing the stories of the excluded: Albanian families’ history and heritage making at the crossroads of new and old homes Eleni Vomvyla UCL Institute of Archaeology Thesis submitted for the award of Doctor in Philosophy in Cultural Heritage 2013 Declaration of originality I, Eleni Vomvyla confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Signature 2 To the five Albanian families for opening their homes and sharing their stories with me. 3 Abstract My research explores the dialectical relationship between identity and the conceptualisation/creation of history and heritage in migration by studying a socially excluded group in Greece, that of Albanian families. Even though the Albanian community has more than twenty years of presence in the country, its stories, often invested with otherness, remain hidden in the Greek ‘mono-cultural’ landscape. In opposition to these stigmatising discourses, my study draws on movements democratising the past and calling for engagements from below by endorsing the socially constructed nature of identity and the denationalisation of memory. A nine-month fieldwork with five Albanian families took place in their domestic and neighbourhood settings in the areas of Athens and Piraeus. Based on critical ethnography, data collection was derived from participant observation, conversational interviews and participatory techniques. From an individual and family group point of view the notion of habitus led to diverse conceptions of ethnic identity, taking transnational dimensions in families’ literal and metaphorical back- and-forth movements between Greece and Albania. -
The Indian Revolutionaries. the American Indian Movement in the 1960S and 1970S
5 7 Radosław Misiarz DOI: 10 .15290/bth .2017 .15 .11 Northeastern Illinois University The Indian Revolutionaries. The American Indian Movement in the 1960s and 1970s The Red Power movement1 that arose in the 1960s and continued to the late 1970s may be perceived as the second wave of modern pan-Indianism 2. It differed in character from the previous phase of the modern pan-Indian crusade3 in terms of massive support, since the movement, in addition to mobilizing numerous groups of urban Native Americans hailing from different tribal backgrounds, brought about the resurgence of Indian ethnic identity and Indian cultural renewal as well .4 Under its umbrella, there emerged many native organizations devoted to address- ing the still unsolved “Indian question ”. The most important among them were the 1 The Red Power movement was part of a broader struggle against racial discrimination, the so- called Civil Rights Movement that began to crystalize in the early 1950s . Although mostly linked to the African-American fight for civil liberties, the Civil Rights Movement also encompassed other racial and ethnic minorities including Native Americans . See F . E . Hoxie, This Indian Country: American Indian Activists and the Place They Made, New York 2012, pp . 363–380 . 2 It should be noted that there is no precise definition of pan-Indianism among scholars . Stephen Cornell, for instance, defines pan-Indianism in terms of cultural awakening, as some kind of new Indian consciousness manifested itself in “a set of symbols and activities, often derived from plains cultures ”. S . Cornell, The Return of the Native: American Indian Political Resurgence, New York 1988, p . -
Makes It Easy to Find Manuals Online!
Downloaded from www.Manualslib.com manuals search engine Photo © Jay Banbury From Jim Marshall I am really pleased that you have chosen this 1959RR Randy Rhoads Signature Series Super Lead 100W head. It is only the fourth signature amplifier that we have produced and I feel it is a great addition to this select range. I first met Randy when he came to the factory in January 1980. He had not long ago joined Ozzy Osbourne and they were working on their first album. He came here knowing exactly what he was looking for, he just needed to find the amplifier that was going to be capable of delivering the power, the tone, and the reliability that he wanted, but was also in keeping with the image that he was to be recognised by. Randy almost found everything he was searching for in a standard 1959 head, but the tone was not quite right. He spent some time with my Service Manager, explaining the slight difference he was looking for, and after a few trials we were able to fit a modification which made the subtle change to the standard tone of the 1959. Randy left the factory to proudly stand in front of his white Marshall stack for all of his hugely successful, but sadly too brief career with Ozzy Osbourne. In this time the legendary guitarist could be seen by thousands of fans, performing in front of his Marshall stack – a sight to behold and a triumphant assault on the ears. Our design team have spent many hours investigating the original Randy Rhoads amplifier, speaking to the Randy Rhoads family, talking to people who knew Randy and heard him play, and talking to the Service Manager who was at the factory when Randy came in and made the modification to the amplifier. -
Guns N' Roses
Guns N’ Roses ‘Live And Let Die’ Guns N’ Roses SONG TITLE: LIVE AND LET DIE ALBUM: USE YOUR ILLUSION I RELEASED: 1991 LABEL: GEFFEN GENRE: HARD ROCK PERSONNEL: W. AXL ROSE (VOX) SLASH (GTR) IZZY STRADLIN (GTR) DUFF MCKAGAN (BASS) MATT SORUM (DRUMS) DIZZY REED (KEYS) UK CHART PEAK: N/A US CHART PEAK: 33 BACKGROUND INFO seven years before Axl Rose decided to fire all the members who remained in the mid 1990s. Sorum McCartney and James Bond get the Guns N’ Roses remained faithful to guitarist Slash and played in the treatment. This popular cover was released in 1991 latter’s Velvet Revolver band. Prior to that, Sorum at a time when G N’ R was probably the most famous was a regular guest drummer for The Cult and played band on the planet. This is naturally a heavier version drums for a very young Tori Amos on her first tour. than the 1972 original but they still captured a lot of More recently Sorum has contributed to a Buddy Rich the song’s underlying humour and playfulness. The tribute album which showcased his technical abilities song features a mix of regular and half-time grooves in jazz drumming. along with a reggae-inspired middle section requiring the drummer to be alert and keep it tight. The player featured here is Matt Sorum. RECOMMENDED LISTENING The G N’ R legacy is based on six studio albums THE BIGGER PICTURE of which the most important by far is their debut, Appetite for Destruction (1987). This record single Matt Sorum’s big rock sound in Guns N’ Roses handedly propelled the band to superstardom and tends to obscure other aspects of his playing. -
IPG Spring 2020 Rock Pop and Jazz Titles
Rock, Pop, and Jazz Titles Spring 2020 {IPG} That Thin, Wild Mercury Sound Dylan, Nashville, and the Making of Blonde on Blonde Daryl Sanders Summary That Thin, Wild Mercury Sound is the definitive treatment of Bob Dylan’s magnum opus, Blonde on Blonde , not only providing the most extensive account of the sessions that produced the trailblazing album, but also setting the record straight on much of the misinformation that has surrounded the story of how the masterpiece came to be made. Including many new details and eyewitness accounts never before published, as well as keen insight into the Nashville cats who helped Dylan reach rare artistic heights, it explores the lasting impact of rock’s first double album. Based on exhaustive research and in-depth interviews with the producer, the session musicians, studio personnel, management personnel, and others, Daryl Sanders Chicago Review Press chronicles the road that took Dylan from New York to Nashville in search of “that thin, wild mercury sound.” 9781641602730 As Dylan told Playboy in 1978, the closest he ever came to capturing that sound was during the Blonde on Pub Date: 5/5/20 On Sale Date: 5/5/20 Blonde sessions, where the voice of a generation was backed by musicians of the highest order. $18.99 USD Discount Code: LON Contributor Bio Trade Paperback Daryl Sanders is a music journalist who has worked for music publications covering Nashville since 1976, 256 Pages including Hank , the Metro, Bone and the Nashville Musician . He has written about music for the Tennessean , 15 B&W Photos Insert Nashville Scene , City Paper (Nashville), and the East Nashvillian . -
The American Indian Movement, the Trail of Broken Treaties, and the Politics of Media
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, & Student Research, Department of History History, Department of 7-2009 Framing Red Power: The American Indian Movement, the Trail of Broken Treaties, and the Politics of Media Jason A. Heppler Follow this and additional works at: https://digitalcommons.unl.edu/historydiss Part of the History Commons Heppler, Jason A., "Framing Red Power: The American Indian Movement, the Trail of Broken Treaties, and the Politics of Media" (2009). Dissertations, Theses, & Student Research, Department of History. 21. https://digitalcommons.unl.edu/historydiss/21 This Article is brought to you for free and open access by the History, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, & Student Research, Department of History by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. FRAMING RED POWER: THE AMERICAN INDIAN MOVEMENT, THE TRAIL OF BROKEN TREATIES, AND THE POLITICS OF MEDIA By Jason A. Heppler A Thesis Presented to the Faculty The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: History Under the Supervision of Professor John R. Wunder Lincoln, Nebraska July 2009 2 FRAMING RED POWER: THE AMERICAN INDIAN MOVEMENT, THE TRAIL OF BROKEN TREATIES, AND THE POLITICS OF MEDIA Jason A. Heppler, M.A. University of Nebraska, 2009 Adviser: John R. Wunder This study explores the relationship between the American Indian Movement (AIM), national newspaper and television media, and the Trail of Broken Treaties caravan in November 1972 and the way media framed, or interpreted, AIM's motivations and objectives. -
The Black Label Berzerkus!
JUNE 16 TH , 2010 FOR IMMEDIATE RELEASE LADIES AND GENTLEMAN AND CHILDREN OF ALL AGES – WELCOME TO THE BLACK LABEL BERZERKUS ! BLACK LABEL SOCIETY TO HEADLINE NEW HARD ROCK FESTIVAL CREATED BY FRONTMAN ZAKK WYLDE NORTH AMERICAN TOUR KICKS OFF SEPTEMBER 21 ST WITH SPECIAL GUESTS CLUTCH, CHILDREN OF BODOM AND 2CENTS (New York, NY) – Legendary rocker Zakk Wylde is proud to announce the creation of The Black Label Berzerkus , a rock n’ roll night of excess and unique madness! Headlined by Wylde’s infamous Black Label Society, the extensive two-month long North American trek will also feature Clutch, Children Of Bodom and 2Cents. Hand-picked by Wylde himself, Children Of Bodom and Clutch will share the main support slot. Kicking off on September 21 st at Roseland in Portland, OR, the tour will make stops across the U.S. and Canada, and will pack a powerful punch of music and debauchery. Please see below for the full tour routing, as well as additional Black Label Society tour dates including Ozzfest. Zakk Wylde, known worldwide for his guitar prowess and over-the-top stage presence, was looking at other rock festivals and saw the need for a value-priced tour of his own – particularly one that caters to the need of his unique demographic of fans, known as Berzerkers. It was an easy decision, says Wylde, summing it up like only he can, “If you don’t get invited to the party, start your f’ing own!” Children Of Bodom commented, “COB is more than ready to head out on Berzerkus and see all of our great fans. -
BREAKING ALL the RULES As Recorded by Ozzy Osbourne (From the 1988 Album "No Rest for the Wicked")
BREAKING ALL THE RULES As recorded by Ozzy Osbourne (from the 1988 Album "No Rest For The Wicked") Transcribed by /\X/\M Words by Ozzy Osbourne, Bob Daisley, Zakk Wylde, J.Sinclair & Randy Castillo Music by Ozzy Osbourne, Bob Daisley, Zakk Wylde, J.Sinclair & Randy Castillo All Guitars Tuned Down 1/2 Step A Intro P = 120 1 j k V V V R I J V V V } } V V } } V } } V V P V VgV f } V V V } } V V } } V } } V V V } V V V V V V V V V V V V V V V V V V V V V V Gtr I 1/2 P.M. P.M. P.M. P.M. P.M. P.M. M 0 0 0 T 0 0 0 9 9 0 4 2 4 0 A 7 9 9 x x 5 7 x x 5 x x 7 2 4 0 x B 7 7 7 x x 3 5 x x 3 x x 5 2 x 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 sl. 6 R I V } } V V } } V } } V V P V V gV f } V } } V V } } V } } V V V } V V V V V V V V V V V V V V V V V V V V 1/2 P.M. P.M. P.M. P.M. P.M. P.M. M T 4 2 4 0 A 2 x x 5 7 x x 5 x x 7 9 4 0 x B 2 x x 3 5 x x 3 x x 5 7 x 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 sl.